This is the introductory entry in a new series covering movies that originally played in drive-in-cinema double bills across the country.
One of the first drive-in theaters premiered in Camden, New Jersey in 1933. The venue’s popularity reached its zenith from the 1950s to the early 1980s. Still, the 1940s was also a robust decade for the drive-in, which specialized in low budget B-films, especially horror and science fiction. The setting was also unique in that drive-ins continued to screen films from the 30 and 40s all the way until the late 70s. For a more extended discussion, see my article Cinema Under The Stars.
Coming Attraction! Black Dragons!
“Suicide or murder in the shadow of a nation’s capitol? The screen’s master of horror, Bela Lugosi has the answer to this mysterious death. Lugosi as the madman on a mission of vengeance, vengeance against 6 men who plot the destruction of a nation at war.”
Coming Attraction…
“Ominous footsteps in the night foreshadow terrifying death. By Day… A Man Of Honor. By Night… A Beast Of Horror. Bela Lugosi. The Invisible Ghost.”
It’s Showtime!
Brides are dying at the altar, and somebody’s responsible. Before being forever robbed of the opportunity to lose her virginity, each bride was given an mysterious orchid—with a scent. Whoever heard of an orchid with a scent? Maybe it’s a clue. Another clue might be that the same undertaker shows up at every crime scene—and he looks just like Dracula. Odd, too, that all of the brides’ corpses vanish! Luana Walters steals the entire film as the spunky reporter giving Lois Lane a run for her money.
Bela’s got a bitch of a wife, too (Elizabeth Russell, from Cat People). She hates aging but, somehow, the blood of virgin brides acts like botox for her. Bela, being a mad doctor, injects it. He’s got a pair of henchman, too: Frank Moran (who’s kind of a precursor to Tor Johnson‘s hulking brute in Bride of the Monster) and dwarf Angelo Rossito (from Freaks).
The movie has an imbecilic charm, but it never quite reaches the sap level of PRC’s The Devil Bat (1940) or Lugosi’s work with Ed Wood.
“Show starts in 10 minutes! We will now have an intermission time before starting our next show!”
“Get the item that adds to your personal comfort. Cigarettes? Here they are! Get the kind you prefer and enjoy them thoroughly; all the most popular brands.”
“Ice cream bars! It’s the handy way to enjoy smooth, rich, creamy ice cream. Get some!”
“Crisp, flavorful fish sandwiches. Gold and brown and crunchy outside and tender and juicy inside for a snack or a meal. ”
“It’s Showtime!”
1944 babes are disappearing along Laurel Road after stopping at Nicholas’ gas station. Nicholas (George Zucco) is in cahoots with the henchmen Toby (John Carradine) and Grego (Pat McKee) who in turn work for crazy doc Marlow (Bela). Doc has a wife who has been a zombie for twenty plus years and he believes, if he gets the right girl, that a voodoo ceremony will unzombify his beloved. Toby and Grego are, ahem, a tad feebleminded, which makes Doc’s job harder. There’s a also a pesky fiancee and some really cool voodoo robes. There isn’t scare one, but it’s a tacky variation of The Corpse Vanishes and has the good sense to be even more senseless.
Although The Corpse Vanishes ( directed by Wallace Fox) was made in 1942, it was double billed two years later for the drive-in-circuit with Voodoo Man (directed by William Beaudine). Both movies are part of Lugosi’s infamous “Monogram Nine.” For the unenlightened, this was a poverty row horror series produced by Sam Katzmann, starring the already faded Dracula actor in some of the most inept movies made. Voodoo Man is the last of the infamous Monogram Nine.
“Please remember to replace the speaker on the mast when you leave the theater. Thanks for being with us this evening. We hope that in some small way we have been able to add to your comfort, pleasure, and relaxation.”
Both films are available on a Legends double feature DVD with vintage drive-in ads, trailers, and countdowns. Olive Films has recently released Voodoo Man on Blu-ray in a pristine transfer.
Lugosi fans (and they are legion, or at least once were) are hardly apt to admit it, but their object of adulation was one of the genre’s worst actors, due in no small part to his clear disdain for the English language and astoundingly poor career choices. With damned few exceptions (notably, Ygor in Son of Frankenstein), he was a one-note performer. Even 
